Karl Böhm's direction of Mozart's comic masterpiece was the celebrated highlight of the Salzburg Festival in 1966, marking the 25th anniversary of the first time he led the opera there.

"One welcomes the preservation and expert restoration of a Nozze showcasing five major postwar era singers too rarely captured on film…. Böhm helped develop the Viennese postwar Mozart style of which Walter Berry, the exuberant Figaro of this broadcast, was a charter exponent. Böhm's brand of Mozart was more driven and less philosophical and contemplative than that of Josef Krips or Wilhelm Furtwängler. His direction here is sure and swift…. Claire Watson, the disc's very classy Countess … opens Act II with commendable poise and with tone that is handsome…. The tricky 'Porgi amor,' deftly turned, wins a warm ovation…. Reri Grist is an enchanting Susanna. She is the complete mistress of the stage and of her role…. The musical, fresh-voiced Swiss soprano Edith Mathis, who recorded Susanna under Böhm two years later, is pretty enchanting herself , if more gamine than gamin as Cherubino."—Opera News

"Mozart's ideas about stage settings, time and place of action, and other such details are observed. It is not set on the dark side of the moon, inhabited by insects and reptiles, or other such silly nonsense. Walter Berry is a splendid Figaro. His appearance is totally in character, he moves easily about the stage, and his voice is rich, smooth, dark, and velvety…. Reri Grist is actually the star of the show. Her smooth, piping, near-vibratoless delivery and her attractive slim figure all contribute to a performance visually and musically close to the top of the heap…. Edith Mathis as Cherubino, the sex-driven teenager who is always getting in the way and having to hide in a closet only to be exposed at the most difficult moment, is brilliant."—American Record Guide